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Most people are familiar with Maslow's Hierarchy of Needs but do we consider the underlying structure of science when trying to determine why we behave the way we do.
From:
blog.createdebate.com/2008/04/07/how-to-write-strong-argu...
I used the creative commons license and am giving attribution.
View on top of the Milan's Chathedral
Milan Cathedral (Italian: Duomo di Milano) is the cathedral church of Milan, Italy. Dedicated to Santa Maria Nascente (Saint Mary Nascent), it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola.
The Gothic cathedral took nearly six centuries to complete. It is the fourth largest cathedral in the world[ and the largest in the Italian state territory.
Architecture and art
The plan consists of a nave with four side-aisles, crossed by a transept and then followed by choir and apse. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral, which was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
The cathedral's five broad naves, divided by 40 pillars, are reflected in the hierarchic openings of the façade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
Milan’s cathedral has recently developed a new lighting system, based on LED lights.
The Moses and Aaron Church (Dutch: Mozes en Aäronkerk), in the Waterlooplein neighborhood of Amsterdam, is officially the Roman Catholic Church of St. Anthony of Padua (Dutch: Sint-Anthoniuskerk). Originally a clandestine church, it was operated by Franciscan priests at a house on Jodenbreestraat ["Jewish Broad Street"], where the wall tablets of Moses and Aaron hung on the wall. In 1970, the present church was designated as a Cultural Heritage Monument of the Netherlands.
In the first centuries after the Reformation, the public display of Roman Catholic services and accessories was not tolerated – officially forbidden in 1660 – in Amsterdam. So in 1641 the Franciscans went to the Joodenbuurt ["Jewish Neighborhood", then at the outskirts of the east side of Amsterdam, and opened a house church, the second of its kind in the city, at a house called the "Moyses" (Moses), at the back of the present church. In 1682, the house was joined by the neighboring house "Aäron" (Aaron) with the purchase by Dr. Johannes de Vroom, a physician from Breda, as well as by the house behind it on the Houtgracht ["Wood Canal"]. Subsequently, also in 1682, a neighboring property owned by David Torres was bought by an intermediary. Named after the brothers from the Old Testament, the twin houses proved to be better known than their hidden church, Sint-Anthoniuskerk, which had been dedicated to the church's patron saint, St. Anthony of Padua.
In 1690, Johannes de Vroom, brother of the priest, consolidated all the four properties into a single block. In the meantime, the expansion of the church had already begun, before the sale was made and before permission was obtained from the City Council. The entrance was moved from Jodenbreestraat to the Houtgracht. The church was decorated inside and outside, including a new facade, in 1759. But it remained hidden under the gables of the two houses until the early 19th Century, when the prohibitions against the Catholic Church were finally lifted.[11] It was replaced between 1837 and 1841 by a bigger and grander building on the same site. Mozes en Aäronkerk was raised to the rank of parish under its original name, St. Anthony of Padua, in 1857, four years after the Roman Catholic hierarchy was restored to the Netherlands.
But gradually the church's parishioners deserted for other parts of Amsterdam and the second oldest of the city's Catholic parishes became the least of them. The church even lost its namesake cemetery in 1866. Established in 1640, it was the first municipal cemetery in Amsterdam. In other words, it was not under the control of any particular church; it was under the control of the City Hall of Amsterdam, but Mozes en Aäronkerk, as Sint-Anthoniuskerk, was allowed to keep its register of burials for this cemetery, which was primarily used to bury the less fortunate, such as paupers and strangers, just outside the Sint-Anthonispoort ["St Anthony's Gate"], only 225 yards (206 meters) southeast of the church, at the present intersection of Weesperstraat and Nieuw Herengracht.
During the late 19th and early 20th Century, the church was a Catholic island in a Jewish neighborhood. It served as a landmark for the Jewish ghetto throughout the German occupation of Amsterdam in World War II. Eventually, the parish of "Sint-Anthonius" was suppressed in 1969 but the church kept its official status.
In 2014, after an interruption of 34 years, the church was reconsecrated, and the weekly Sunday mass was resumed, together with weekday prayer services. The church and its liturgical function was confided to the Community of Sant'Egidio, who use it as a center for charitable activities in Amsterdam. The former activities, such as providing the setting for secular weddings, and cultural events were suspended, and the local socio-cultural organization, "Mozeshuis" ("Moses House"), opened in 1969, and previously suffering financial difficulties, was closed.
The present building was built as a "Water Management Church" (Dutch: Waterstaatskerk), between 1837 and 1841 from a design by Tilman-François Suys (1783–1861) in the style of neoclassicism, with three aisles and a recessed rectangular choir. Suys also designed the Groenmarktkerk ["Green Market Street"] in Haarlem. The facade, with its twin towers, was said to be inspired by the Church of Saint-Sulpice in Paris and Santissima Trinità dei Monti in Rome.
The statue at the top of the entrance shows the blessing of the Christ. On the postcard from 1902 (shown at left), He was flanked below, left and right are two other statues, St. Francis of Assisi and St. Anthony of Padua. More statues, St. Peter, St. Paul and the Four Evangelists, were also standing high in the two towers. They were created by the Flemish sculptor, Jan Baptist de Cuyper (1807–1852), himself a Catholic. but all the statues except the Christ were lost during World War II. The facades were made of plastered brick and iron and wooden parts of the towers were painted white. This creates a total impression of the solemn and venerable majesty of an ancient temple, done with cheap and modern materials. The columns are made of Bentheim sandstone, from the area of Bentheim in Lower Saxony of Germany.
The baroque altar, dating from about 1700, came from the original church with a painting, "De Verrijzenis van Christus [The Resurrection of Jesus]" by Jacob de Wit (1695–1754). Depending the liturgical calendar, the altarpiece would also feature either "Maria Aankondiging [Mary of the Annunciation]" or "Christus san het Kruis [Christ on the Cross]", also by Jacob de Wit. Suys designed the side altars in the same style. These were equipped with two 18th century statues and four new statues, made by De Cuyper. On the walls are the reliefs of the fourteen Stations of the Cross, made by a Flemish sculptor, Petrus Elysens van den Bossche (1841–1921).
The church organ, designed by Charles-Marie Philbert between 1869 and 1871, was built by the organmakers from Leeuwarden, De Gebroeders Adema ["The Brothers Adema"]. Some of the pipes were supplied by the French organ builder, Cavaillé Coll. It was the first organ in the Netherlands to use the Barker lever, a French innovation that allowed faster and stronger music to be played. Expanded in 1876 and 1887, the organ was restored for the last time, in 1993 and 1994, by the Dutch organ building firm from Zaandam, Flentrop. It has 48 registers on three manuals and a pedalboard. Throughout its existence, it has been played by such notables as Charles-Marie Widor and Camille Saint-Saëns.
On the architrave of the portal entrance is the Latin inscription from the year 1842:
QUAE FUIT A SAECLIS SUB SIGNO MOYSIS ET AARON STAT SALVATORI RENOVATA ILLUSTRIOR AEDES.
"What was under the sign of Moses and Aaron for centuries, has been renewed for the great glory of the Savior."
The bold letters in the chronogram spell out, in the Roman numerals, with the "U" and "Y" substituting for the "V", the mathematical equation for adding up the total sum of the year 1842: 5 + 6 + 151 + 6 + 1006 + 56 + 6 + 50 + 56 + 500 = 1842
On 26 April 1866, on his visit to Amsterdam, Franz Liszt was treated at the Mozes en Aäronkerk to its orchestra and chorus's performance, led by a Dutch conductor Herman van Bree, of one of his compositions, the "Graner Mass". This occasion is commemorated by a plaque bearing his profile at the church.
On 8 December 1992, the tenth anniversary of the December murders, a plaque was placed on the side wall of the Mozes en Aäronkerk in the memory of fifteen victims who were arrested, tortured and murdered without a trial by the soldiers loyal to Dési Bouterse, then the dictator of Suriname (Wikipedia).
Pics from various XML code just made up out of copied parts. Made it up to 400 nodes. Some were pre-auto adjusting node size.
Here's a selection of unusual religious badges that have been identified. Most of these badges date to between the 1950's and the 1970's. They are all relatively common except for the SHCJ badge which is rare.
For size reference, the CWL badge measures 7/8" x 7/8" (about 23mm x 23mm).
CYMS (Catholic Young Men's Society)
The CYMS was established in 1849 by Father Richard Baptist O'Brien to serve as a spiritual and social organisation primarily for young Catholic men. Founded in Limerick, the number of CYMS branches grew and at its peak membership during the 1950's there were over a hundred branches in Ireland. The first CYMS in England was founded at Sheffield in 1854. There are 17 branches in Ireland (as at 1999) and women were admitted for the first time from 1984.
www.irishtimes.com/news/cyms-marks-150th-birthday-convinc...
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SHCJ (Society of the Holy Child Jesus)
The CHCJ founded by Cornelia Connelly in 1846 and is an international congregation within the Catholic Church. Their first religious House opened at Derby and today the SHCJ has about 80 Sisters working and living throughout Europe, mostly in Britain and Ireland.
www.shcj.org/european/our-story/our-presence-in-europe/
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CWL (Catholic Women's League of England & Wales)
The CWL was founded in 1906 and today, is represented in over 200 hundred parishes in dioceses across England and Wales.
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PBS (Prayer Book Society)
The PBS was founded in 1972 as a charity organisation within the Anglican Church. The PBS advocates for the advancement of the Christian religion as set forth in the 1662 Book of Common Prayer. Their main concerns is to preserve the liturgy of the Book of Common Prayer in the face of new alternatives brought into the Church of England, such as the Alternative Service Book (1980) and Common Worship (2000)..
www.arqueologiadelperu.com/scarlet-macaw-skeletons-point-...
New work on the skeletal remains of scarlet macaws found in an ancient Pueblo settlement indicates that social and political hierarchies may have emerged in the American Southwest earlier than previously thought.
This skull of a scarlet macaw (Ara macao) was excavated from Pueblo Bonito in New Mexico by researchers from the American Museum of Natural History in 1897 [Credit: © AMNH/D. Finnin]
Researchers determined that the macaws, whose brilliant red and blue feathers are highly prized in Pueblo culture, were persistently traded hundreds of miles north from Mesoamerica starting in the early 10th century, at least 150 years before the origin of hierarchy is usually attributed.
The findings, published today in the Proceedings of the National Academy of Sciences, suggest that the acquisition and control of macaws, along with other valued items like chocolate and turquoise, may have facilitated the development of hierarchy in the society.
"By directly dating the macaws, we have demonstrated the existence of long-distance networks throughout much of this settlement's history," said Adam Watson, a postdoctoral fellow in the American Museum of Natural History's Division of Anthropology and lead author on the paper.
"Our findings suggest that rather than the acquisition of macaws being a side effect of the rise of Chacoan society, there was a causal relationship. The ability to access these trade networks and the ritual power associated with macaws and their feathers may have been important to forming these hierarchies in the first place."
Archaeologists have known for more than a century that the pre-Hispanic Pueblo people of the American Southwest acquired goods from Mesoamerica, including marine shells from the Gulf of California, raw copper and crafted copper bells from west Mexico, cacao from the Neotropics, and tropical birds.
Scarlet macaws (Ara macao) have been recovered from many settlements in the Southwest, particularly at Chaco Canyon in northwestern New Mexico, a major cultural center that was densely occupied between about AD 800 and 1200 and had more than a dozen multi-storied "great houses."
A modern view of Pueblo Bonito, the largest of the 'great houses' in the pre-Hispanic cultural center of Chaco Canyon, which was occupied between about AD 900 and1500. Pueblo Bonito had about 650 rooms [Credit: © AMNH/A. Watson]
The birds are native to humid forests in tropical America--primarily the Gulf Coast region of Mexico, Central America, and northern sections of South America--so their presence at Chaco Canyon indicates the existence of long-distance procurement networks often characteristic of a complex society. It was traditionally thought that the Pueblo people did not bring these items back to the settlement until AD 1040, the start of an era of rapid architectural expansion called the Chaco florescence.
But new radiocarbon dating of artifacts discovered in the settlement is changing that view.
First excavated by a Museum-led team in 1896, the largest of the Chaco Canyon great houses was Pueblo Bonito, which had about 650 rooms. Among those rooms was one particularly unusual crypt: Room 33, a single small structure in the oldest area of the Pueblo, that contained 14 human bodies along with significant amounts of symbolically important items like turquoise, shell, and flutes. Two of the bodies were buried below a rare wooden floor with the majority of the grave goods, signaling the special treatment of elite individuals at Pueblo Bonito.
"In general, most researchers have argued that emergence of hierarchy, and of extensive trade networks that extended into Mexico, would coincide with what we see as other aspects of the Chaco florescence: roads being built outward from Chaco and the formation of what are called Chaco outliers that mimic the architecture seen in the cultural center," said Stephen Plog, professor of archaeology at the University of Virginia and a co-author on the paper. "For many years, that was the dominant model."
But in 2010, radiocarbon dating led by Plog showed that the two burials happened no later than AD 775-875.
"Based on these results, which call into question when the formation of the hierarchy actually began in Chaco, we decided to take another look at the macaws," Watson said.
The Hyde Exploring Expedition (1896-1900), sponsored by the American Museum of Natural History, excavated the now well-known site of Pueblo Bonito in Chaco Canyon, a pre-Hispanic cultural center in northwestern New Mexico [Credit: © AMNH Library/411866]
Ethnographically, scarlet macaws are particularly significant in Pueblo cosmology, where based on directional association by color (red/orange), they tend to designate southern positions. Ritual use of macaw feathers on prayer sticks, costumes, and masks to communicate prayers to gods is well recorded. The acquisition and control of scarlet macaws was likely the province of social and religious elites.
"Birds are a part of nature, but they are also agents with magical properties that can be put to human use," said Peter Whiteley, a curator in the Museum's Division of Anthropology and a co-author on the paper. "Flight or just the appearance of certain birds or the use of their feathers is believed to motivate the fall of rain or snow, as well as the seasons, the sunshine, and the heat."
The remains of 30 macaws have been found in Pueblo Bonito, including 14 in a single structure: Room 38, which, based on the amount of guano detected on the floor, was likely a sort of aviary. Previous attempts at indirect dating of macaw skeletons concluded that they were obtained during the Chaco florescence, but the accuracy of the methods used, based on associated tree rings and ceramic type frequencies, is questionable. With radiocarbon dating, the researchers examined 14 Pueblo Bonito macaw skeletons that are currently housed in the Museum's collection.
Direct radiocarbon dating of macaw skeletons found that 12 of the 14 sampled macaws predate the Chaco florescence, with about half of them dating to the late 800s and mid-900s. The acquisition of these birds would have been a formidable task, requiring the removal of fledglings from the nest soon after their birth before traveling between 1,800 and 2,500 kilometers (about 1,120-1,550 miles) on foot back to Chaco.
"We propose that the hierarchical sociopolitical foundation of Chacoan society was established during the initial era of construction of the great houses and that this foundation was reinforced during the late ninth and 10th centuries by the acquisition of scarlet macaws and other cosmologically powerful agents from Mesoamerica," Plog said. "Sociopolitical hierarchies evolved over the course of nearly two centuries before taking the more visible forms seen in the Chaco florescence. As in many parts of the world, this was a long-term process rather than a brief, abrupt transformation."Source: American Museum of Natural History [June 22, 2015]
i learnt about it by some u.s. novels in 90's, but bit surprised nothing has changed at all.
most interesting point is hannah & mitch's episode that all of his friends led him broke up with her just because she was out of his/their CLASS... it's 21C, isn't it?
in japan? mmm... from my experience, i guess hierarchy depends on not per genre, but in genre,
rich, smart and beautiful kids are easier to be "winner" though.
it is very fluid who is gonna be next "target" and net-bullyings are more vicious. sometimes they continue until the "target" would kill him/herself...
Hierarchy.
Interesting choice of word to illustrate—and by interesting I mean—wtf? But hey, it certainly was a challenge to come up with something unique to represent the mundane.
The only thing I could think of was one of those organizational charts that list the boss in the big box at the top, and then the descending echelons of minions, lackeys and worker bees. The chart where people hope that they are at least as high (if not higher) on the feeder scale than the schmuck who wants you to buy his daughter’s Girl Scout cookies.
Anyway—I’ve seen (and designed) enough of the ‘org’ chart that my mind automatically goes there for ‘hierarchy’ and refuses to leave. Thus, I bring you the little doodle below. For those who keep track of this stuff: this ‘toon was created Illustrator CS3 though it probably could have been done just as easily in MS Paint.
I appreciate your comments.
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SQUAT - SOUNDS
AUTONOMES KULTURZENTRUM HANAU
(Besetztes Haus / Metzgerstrasse-Squat in Hanau / Germany).
Photographs 1987-1994
- Please scroll down for english and german info) -
The Squat - Photos:
www.flickr.com/photos/sterneck/sets/72157627799174125
Squating the Parliament (1988):
www.flickr.com/photos/sterneck/sets/72157627923787960
Concert-Photos 1987-1988:
www.flickr.com/photos/sterneck/sets/72157627799191443
Concert-Photos 1989-1990:
www.flickr.com/photos/sterneck/sets/72157627923799072
Concert-Photos 1991-1992:
www.flickr.com/photos/sterneck/sets/72157627923811302
Concert-Photos 1993-1994:
www.flickr.com/photos/sterneck/sets/72157627923815978
- Concert-Photos 1989-1990:
Archbishop Kebab (Edinburgh, Scotland) - 1989
Citizen Fish (Warminster, England) - 1990
Die Trottel (Budapest, Hungary) - 1988
Do Or Die (Amsterdam, Netherlands) - 1990
Israelvis (Trondhrim, Norway) - 1989
Kina (Valle d'Aosta, Italy) - 1990
Life… But How To Live It? (Oslo, Norway) - 1989
Political Asylum (Edinburgh, Scotland) - 1989
Rikk Agnew (Fullerton, USA) - 1990
Robsie Richter (Hanau, Germany) - 1990
Sharon Tates Children (Stuttgart, Germany) - 1989
Sore Throat (Yorkshire, England) - 1990
Spongetunnel (Chicago, USA) - 1989
Ugly Food (Lübeck, Germany, Odense, Denmark) - 1989
Zygote (Bath, England) - 1990
..... and Friends and .....
.........
There were a lot more bands playing in the squat.
If you have photographs or recordings - please get in contact:
contact@sterneck.net
Thanx! *
- * -
THE SQUATED AUTONOMOUS CULTURE CENTER
METZGERSTRASSE / HANAU
In December 1986 some people in Hanau (Germany) decided to squat a house that had been empty for a long time, Metzgerstraße 8. They restored it and filled this free space with a new life.
Soon it became an ’Autonomous Culture-Center’ for the people and by the people, and also a focal point for a solidaric projects and for the resistance against ruling systems in all their repressive forms. The center has had a long history of attempts to establish a self-determined culture-center in Hanau, although it has always been repressed by the local city council.
The basic forum of the center is the ”squatter meeting,” which is open to everyone who has an interest in the squat as a counter-cultural free space. Decisions are made on the consent principle, which means that they try to find a decision that can be supported by everyone. Many activists in the squat, but not all, describe themselves as members of the autonomy movement, which connects anarchist, communist and feminist ideas.
At the moment there are a lot of projects, groups, and events that take place in the center. Everything is done on a do-it-yourself and nonprofit basis; no one receives money for her or his work. Solidarity, trust and self-determination are the basis for all work. Here are some examples:
- The ’Infoladen’ (Infoshop): The Infoshop is an opportunity to get information that can’t be found in the normal bourgeois media. There are a lot of autonomous, left radical and feminist leaflets, brochures and newspapers available. There is also a small media center and an archive that includes material on topics like anti-fascism, atomic politics, women’s liberation, internationalism, etc.
- The ’Volxküche’ (Peoples Kitchen): Frequently people from the community cook a vegetarian meal that is available for a small price. The idea behind this is to overcome isolation between people and the patriarchal roles typical in the kitchen, and, of course, to provide a good tasting meal for many people.
- The Concerts: Concerts in the center are organized, and absolutely dedicated to the principle of working in a self-determined way without a manager, an agency, or even a contract. The bands that play in the squat should have a mutual relation to the ideas of the center. There are no musical limits: Local punk bands have played there as well as jazz bands from North-America and Avantguarde projects from Eastern Europe. Some of the performances have been released on tapes and records.
In a way, the things that happen between the people in the center are more important than the events: changes in behavior, opportunities to live together without hierarchical structures, and new ways of relating. Although the squat is like an island in some ways, it’s far from a concrete utopia. Problems in interpersonal relations exist, as well as differences between ideals and real behaviour.
If people want to go alternative ways, the authorities try to stop them. In Hanau the local city council has said for a long time that none of the things the squatters do and organize represent culture. They decided in parliament that the center was to be closed and torn down without an alternative. In place of the squat, they planned to build five parking places. A decision that is very symbolic and characteristic. Certainly, the real aim was to destroy the ideas and the structures this center stands for.
The answer of the supporters of the Autonomous Culture-Center was the squatting of the parliament of the city. The politicians went out of the building and the squatters voted for the continuation of the center.
Up to now the authorities have not been able to realize their plans for various reasons. On the one hand there are many people who support the squat. There are also legal difficulties around closing it, and they are afraid of the resistance and activities that could take place after closing the squat.
But even if they evict the center, they can’t repress the ideas that the squat stands for. It’s about a self-determined culture and a self-determined life. It’s about dreams and ideals. It’s about consequence and change, here and now.
Wolfgang Sterneck, 2001.
Autonomes Kulturzentrum
Metzgerstrasse 8, D-63450 Hanau, Germany.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Info on the Project of John Cage and Sterneck / KomistA in benefit of the squat:
- www.sterneck.net/john-cage/metzgerstrasse-e
- * -
SUBVERSIVE SOUNDS *
Konzerte im Autonomen Kulturzentrum Hanau.
Das besetzte Haus
Im Dezember 1986 kam es in Hanau zur Besetzung eines ehemaligen Nachtclubs in der Metzgerstraße 8. Das Gebäude, das zuvor über Jahre hinweg leer stand, wurde renoviert, neu gestaltet, umbenannt und wird seitdem als Autonomes Kulturzentrum genutzt. Das Ziel der Besetzung war es, einen Freiraum zu schaffen, in dem die Vorstellung einer autonomen Kultur wie auch die Wiederaneignung des entfremdeten Alltags konkret umsetzbar wird.
Vor diesem Hintergrund gelang es, ein Zentrum zu entwickeln, in dem solidarisches Handeln, kollektives Leben und politische Identität auf vielen Ebenen verschmelzen oder sich zumindest annähern. Die Metzgerstraße wurde dadurch zu einem wichtigen Bezugspunkt von dem auf verschiedenen Ebenen vielschichtige politische, soziale und kulturelle Impulse ausgingen.
Im Laufe der Jahre entstanden vielfältige Projekte wie die Volxküche (Essen zum Selbstkostenpreis), der Infoladen (Aktuelle politische Informationen und Archiv) und das Basta-Cafe (Treffpunkt und Sozialberatung). Die politischen Schwerpunkte der im Kulturzentrum aktiven Gruppen liegen unter anderen in den Bereichen 'Internationale Solidarität', Antifaschismus und 'Soziale Veränderung'.
Die Entscheidungen innerhalb des Kulturzentrums werden basisdemokratisch nach dem Konsensprinzip getroffen. Alle Aktivitäten basieren auf einer idealistischen Grundhaltung. Keine Person aus dem Zentrum erhält für ihre Tätigkeiten eine finanzielle Entlohnung.
Selbstbestimmte Kultur ohne Kommerz
Musik hatte von Anfang an in der Metzgerstraße eine besondere Bedeutung. Über das Musikhören hinaus machen viele AktivistInnen selbst Musik, veröffentlichen eigene Aufnahmen oder organisieren Konzerte. Im Sinne des DIY-Prinzipes ('Do it Yourself') werden die Auftritte im direkten Kontakt mit den MusikerInnen ohne Konzertagenturen und auch ohne Verträge auf völlig nichtkommerzieller Basis organisiert.
Eine Grundlage bildet ein solidarisches Verhältnis der MusikerInnen zur Metzgerstraße, was sich unter anderem auch in der Gage ausdrückt, die sich in der Regel auf die für die Band entstandenen Unkosten und die Verpflegung beschränkt. Der Eintrittspreis ist so ausgerichtet, dass er für alle interessierten Personen erschwinglich ist und die anfallenden Kosten deckt bzw. im Rahmen von Benefiz-Konzerten bestimmte Projekte unterstützt.
Freiräume statt Parkplätze
Während der ehemalige sozialdemokratische Kulturdezernat Hanaus davon sprach, dass in der Metzgerstraße keine Kultur stattfindet, bildete dass selbstorganisierte Zentrum durch die Auftritte von Bands aus Westeuropa und Nordamerika einen im Hanauer Kulturleben herausragenden internationalen Bezugspunkt. Die musikalische Bandbreite umfasst unter anderem Rockmusik in den verschiedensten Schattierungen, Punk, Hardcore, Folk und Jazz, sowie experimentelle und improvisierte Musik. Lokale Nachwuchsbands traten im Laufe der Jahre genauso auf wie renommierte Gruppen aus unterschiedlichsten Ländern. Einen Kultcharakter erlangten zudem die Nachtcafe-Sessions, an denen jeder und jede teilnehmen konnte.
Die Aufnahmen einiger Konzerte wurden später auf verschiedenen Tonträgern veröffentlicht. 1992 kam es daneben zur Veröffentlichung eines der Metzgerstraße gewidmeten Stücks des Avantgarde-Komponisten John Cage.
In den Anfangsjahren plante der Hanauer Magistrat das Haus nach einer Räumung abreißen zu lassen, um dort stattdessen fünf Parkplätze zu errichten. Die Kulturpolitik des Magistrates entlarvte sich dadurch in einer kaum zu übertreffenden symbolhaften Weise selbst. Das Vorhaben wurde jedoch nicht zuletzt in Folge einer Besetzung des Stadtparlamentes durch Unterstützerinnen des Kulturzentrums nicht weiter verfolgt.
Rund 25 Jahre nach der Besetzung wird das Haus weiterhin als Kulturzentrum genutzt. Im ansonsten auf Konsum und Kommerz ausgerichteten Stadtzentrum Hanaus ist es mit seinen vielfältigen Projekten kreativer wie auch subversiver Freiraum.
Wolfgang Sterneck, September 2011.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Eine ausführliche Beschreibung der Geschichte des Kulturzentrums:
Freiräume entwickeln - Das besetzte autonome Kulturzentrum Metzgerstraße Hanau
- www.sterneck.net/squat/metzgerstrasse-d
English Info:
The squated Autonomous Culture Center Metzgerstrasse Hanau
- www.sterneck.net/squat/metzgerstrasse-e
Infos zum Benefiz-Projekt von John Cage und Sterneck / KomistA für das Kulturzentrum:
- * -
Foto: 1988 ? 1989
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Josef Scharl, München 1896 - New York 1954
Hierarchie - Hierarchy (1937)
Städel, Frankfurt
Streng hierarchisch erscheint die figurale Pyramide, die in der frontalen Darstellung einer wie inthronisiert wirkenden „Führergestalt“ gipfelt. Durch die groteske, nahezu fratzenhafte Überzeichnung der Würdenträger unterläuft Josef Scharl den vermeintlichen Sinngehalt des Biltitels, der als parodistischer Angriff auf das Autoritätsdenken der zeitgenössischen NS-Ideologie aufgefasst werden kann.
Entstanden ist das stilistisch an den Expressionismus wie auch an die Neue Sachlichkeit angelehnte Gemälde im selben Jahr, in dem der Münchener Künstler mit einem Ausstellungsverbot belegt wurde. Kurz darauf emigrierte der als „entartet“ verfemte Maler ins amerikanische Exil.
Quelle: Städel
One of the oldest plants on the planet, Ferns exhibit two structural characteristics that pervade the entire biota: Fractal Geometry and Circulation Hierarchy. The first is evident in the scaling up of self-similar elements. The second in the dendrite structure of the circulation elements with the progressively smaller lengths and widths of arteries down to the capillary level. Of note also is the predominance of 3-way junctions between higher and lower order veins. This system contains lessons for man-made circulation systems such as water, electricity, ventilation, telephones, the internet and finally roads.
The so called 'wiring diagram' from a book I happen to have handy, 'American Ambassadors'.
Making his own rules:
www.politico.com/story/2017/01/trump-diplomacy-internatio...
Sunday, July 3, 2016 â NASHVILLE, Tenn. â Almost a thousand people attended the Hierarchical Divine Liturgy this morning that began the 43rd Biennial Clergy-Laity Congress of the Greek Orthodox Archdiocese of America.
The Orthros service and Hierarchical Concelebration of the Divine Liturgy were held in the Grand Ole Opry House.
His Eminence Archbishop Demetrios Geron of America presided over the Divine Liturgy concelebrating with all the Metropolitans of the Holy Eparchial Synod of the Archdiocese. Taking part in the Liturgy were His Eminence Metropolitan Iakovos of Chicago, His Eminence Metropolitan Methodios of Boston, His Eminence Metropolitan Isaiah of Denver, His Eminence Metropolitan Alexios of Atlanta, His Eminence Metropolitan Nicholas of Detroit (the host Metropolitan of this yearâ s Congress), His Eminence Metropolitan Savas of Pittsburgh, His Eminence Metropolitan Gerasimos of San Francisco, and His Eminence Metropolitan Evangelos of New Jersey.
Îε Ïην ÏÎ-λεÏη ΣÏ
Î½Î¿Î´Î¹ÎºÎ®Ï ÎÎµÎ¯Î±Ï ÎειÏοÏ
ÏÎ³Î¯Î±Ï ÏÏο Grand Ole Opry House ÏÏοεξάÏÏονÏÎ¿Ï ÏοÏ
ÎÏÏιεÏιÏκÏÏοÏ
ÎÎ-ÏονÏÎ¿Ï ÎμεÏÎ¹ÎºÎ®Ï Îº. ÎημηÏÏίοÏ
ξεκίνηÏαν ÏήμεÏα ÏÏο ÎάÏβιλ ÏοÏ
ΤενεÏί οι εÏγαÏÎ¯ÎµÏ ÏÎ·Ï 43Î·Ï ÎληÏικολαÏÎºÎ®Ï Î£Ï
νÎ-λεÏ
ÏÎ·Ï ÏÎ·Ï ÎεÏÎ¬Ï ÎÏÏιεÏιÏκοÏÎ®Ï ÎμεÏικήÏ.
ΣÏ
λλειÏοÏÏγηÏαν ο ÎηÏÏοÏολίÏÎ·Ï Î£Î¹ÎºÎ¬Î³Î¿ κ. ÎάκÏβοÏ, ο ÎηÏÏοÏολίÏÎ·Ï ÎοÏÏÏÎ½Î·Ï Îº.ÎεθÏδιοÏ, ο ÎηÏÏοÏολίÏÎ·Ï ÎÏÎ-Î½Î²ÎµÏ Îº.ÎÏαÏαÏ, ο ÎηÏÏοÏολίÏÎ·Ï ÎÏλάνÏÎ±Ï Îº.ÎλÎ-ξιοÏ, ο ÎηÏÏοÏολίÏÎ·Ï ÎÏηÏÏÏÎ¹Ï Îº.ÎικÏλαοÏ, ο ÎηÏÏοÏολίÏÎ·Ï Î Î¹ÏÏβοÏÏγοÏ
κ.ΣάββαÏ, ο ÎηÏÏοÏολίÏÎ·Ï ÎγίοÏ
ΦÏαγκίÏκοÏ
κ.ÎεÏάÏÎ¹Î¼Î¿Ï ÎºÎ±Î¹ ο ÎηÏÏοÏολίÏÎ·Ï ÎÎ-Î±Ï ÎεÏÏÎ-Î·Ï Îº.ÎÏ
άγγελοÏ, μÎ-λη ÏÎ·Ï ÎεÏÎ¬Ï ÎÏαÏÏÎ¹Î±ÎºÎ®Ï Î£Ï
νÏδοÏ
ÏÎ·Ï ÎεÏÎ¬Ï ÎÏÏιεÏιÏκοÏÎ®Ï ÎμεÏικήÏ. ΣÏ
μμεÏείÏαν εÏίÏÎ·Ï Î¿Î¹ ιεÏÎµÎ¯Ï Ï. Joel McEachen, Ï. ΧÏιÏÏÏÏοÏÎ¿Ï ÎηÏÏÏÏοÏ
λοÏ, Ï. ÎοÏ
ÎÏÏλοÏ, Ï. ÎÏηγÏÏÎ¹Î¿Ï Hohnholt, ÏÏοÏÏÏÎ¬Î¼ÎµÎ½Î¿Ï ÏÎ·Ï ÎÎ³Î¯Î±Ï Î¤ÏÎ¹Î¬Î´Î±Ï ÏÏο ÎάÏβιλ, ο ÎÏÏÎ¹Î´Î¹Î¬ÎºÎ¿Î½Î¿Ï Î Î±Î½ÏελεήμÏν ΠαÏαδÏÏοÏ
Î»Î¿Ï ÎºÎ±Î¹ ο Î´Î¹Î¬ÎºÎ¿Î½Î¿Ï ÎλεÏ
θÎ-ÏÎ¹Î¿Ï ÎÏνÏÏανÏινίδηÏ.
ΣÏ
μÏÏοÏεÏ
ÏÏμενοι ÏαÏÎ-ÏÏηÏαν οι ÎηÏÏοÏολίÏÎµÏ ÎοÏÎ-Î±Ï Îº. ÎμβÏÏÏÎ¹Î¿Ï ÎºÎ±Î¹ ÎÏ
δÏÎ½Î¯Î±Ï ÎºÎ±Î¹ ÎÏοκοÏÏνοÏ
κ. ÎαμαÏκηνÏÏ, οι οÏοίοι εκÏÏοÏÏÏοÏν ÏÏÎ¹Ï ÎµÏγαÏÎ¯ÎµÏ ÏÎ·Ï ÎληÏικολαÏÎºÎ®Ï Ïον ÎικοÏ
Î¼ÎµÎ½Î¹ÎºÏ Î Î±ÏÏιάÏÏη κ. ÎαÏθολομαίο.
Î 43η ÎληÏικολαÏκή ΣÏ
νÎ-λεÏ
Ïη ÏÏαγμαÏοÏοιείÏαι ÏÎ-ÏÎ¿Ï ÏÏην ÎεÏά ÎηÏÏÏÏολη ÏοÏ
ÎÏÎ-Î½Î²ÎµÏ ÏÎ·Ï Î¿ÏÎ¿Î¯Î±Ï ÏÏοÎÏÏαÏαι ο ÎηÏÏοÏολίÏÎ·Ï ÎÏÎ-Î½Î²ÎµÏ Îº. ÎικÏλαοÏ. ÎÏικεÏÎ±Î»Î®Ï ÏÎ·Ï Î¿ÏγανÏÏÎ¹ÎºÎ®Ï ÎµÏιÏÏοÏÎ®Ï ÎµÎ¯Î½Î±Î¹ Ïο ζεÏÎ³Î¿Ï George και Lee Ann Anderson, ενοÏίÏÎµÏ ÏÎ·Ï ÎÎ³Î¯Î±Ï Î¤ÏÎ¹Î¬Î´Î¿Ï ÏοÏ
ÎάÏβιλ.
PHOTOS: © Greek Orthodox Archdiocese, GOA/DIMITRIOS PANAGOS
This is the dome of M.G. Science Institute in Ahmedabad, India.
I was visiting one professor there, and as he was busy, i was looking around and found this nice "Hierarchy" of birds...!!
The 'hierarchy of needs' in Web2.0. Well, more precisely if you plot impact vs effort for each type of new media activity it might look something like this...
Keynote 50 in 50
Languages - what's to learn from them? Relics of the past; we know how to design them / to use them. Types / messages / invocation / loops / numbers / methods / big ol' libraries / lots of = signs. Heh, but what is programming, and what role do programming languages play in that process? We have learned a lot over the last five decades: organizing principles, established conventions, theory, fashions, and fads. "Those who cannot remember the past are condemned to repeat it." In this talk we survey what we think are the most important lessons of the past that future programmers, and future programming language designers, ought not forget. We illustrate each lesson by discussing specific programming languages of the past, and endeavor to shine what light we can on the future.
Keywords: Languages, Patterns, Design, Architecure, Experience
Target Audience: People not afraid of finding out just how weird our predecessors were and who enjoy theater style.
Sponsored by University of Melbourne
Speaker Information
"Richard Gabriel and Guy Steele are beasts in the world of computer science, and they are creative and witty geeks."
Guy L. Steele, Jr.
Keynote Speaker
Language Designer and Author
Fellow Sun Labs, Oracle
Links:
Websites: labs.oracle.com/projects/plrg projectfortress.sun.com
Twitter: I am not a member of Twitter. I generally deal in ideas that require paragraphs, or perhaps full-blown essays, rather than single sentences.
Books: Coders at Work The Java Language Specification Common LISP, The Language C: A Reference Manual
Richard P. Gabriel
Keynote Speaker
Distinguised Engineer IBM Research and Celebrated Philosopher of Software Creativity
Software Passion: Passionate about every dirty aspect of software creation
Links:
Website: www.dreamsongs.com/
Twitter: @rpg
Books: Performance and Evaluation of Lisp Systems Patterns of Software Innovation Happens Elsewhere Writers' Workshops and the Work of Making Things Drive on
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